Matteo Garrone's Realitygot the Grand Prix at Cannes last May, and the festival's best director award went (controversially) to Post Tenebras Lux, the fourth movie by the Mexican international lawyer turned film-maker Carlos Reygadas. A semi-autobiographical film in the style of his idol Andrei Tarkovsky, it's a confusing work in which past, present and fantasy alternate as the fractured narrative moves between the troubled life of Reygadas's alter ego with his wife and small children outside Mexico City, an orgiastic Turkish bath house somewhere on the Continent, and a rugby-playing public school in England he once attended. (The title translates as "light after darkness" and might well be the school's motto.) The family home is visited by a large, red devil and is robbed by an alcoholic farmworker, but it's just one self-indulgence after (or before) another. By some way the best sequence is the opening 10 minutes in which the auteur's real daughter runs around a rain-drenched field at nightfall, chasing dogs, cows and other animals as a storm comes on. It's truly Tarkovskian.